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February 28, 2017

How quitting game design college eventually led Dropout Games to App Store success Related Articles Comments Login to to leave a comment Or click here to register Top Stories Events Games Industry Jobs Popular Stories Latest User Comments Videos PGBiz on Facebook PGbiz Staff About Us Steel Media Network

What do you do when your college course isn't working out for you?

For the aptly named Dropout Games the answer was simple - quit, and start on your own path.

Now, after the launch of UNWYND - which found success on iOS after it was featured by Apple - the Indian studio has released its second game, Blyss, a simply styled but clever puzzle game.

We talked to Ankush Madad, the studio's co-founder and creative head, about how the studio came to be, the making of its second title, and its plans for the future.

PocketGamer.biz: What made you decide to start Dropout Games?

Ankush Madad: My co-founder Sujeet and I had met at DSK Supinfogame, India's prime institute for __game Design & Development learning. We were classmates there.

Even though it's the best college in India, there was a lack of coherence in what was taught and what should've ideally been taught.

Things had become chaotic during our second year at DSK and we had decided to drop out individually.

Couple of months later, we got in touch once again for a project we had been working on during our college days.

We asked each other about our plans for future, and after a month long discussion, Dropout Games was formed in September 2014.

Saurabh designing the backgrounds for Blyss

So, now you know why we’re called Dropout Games.

From there on, we spent half a year to learn the trades and tools of the industry, prototyped several concepts, and participated in numerous __game jams.

As soon as we got our hands on an interesting concept, we jumped on its development straightaway.

That concept was UNWYND.

We’re also thinking about expanding to different genres as well as platforms.
Ankush Madad

UNWYND released, giving us our fair share of critical and commercial success and, more importantly, teaching us a lot about production.

Who makes up the team, and what are your backgrounds in games?

While working on Blyss, we expanded the team and added an artist. He also happens to be one of our ex-collegemates and a fellow dropout.

After Saurabh joined the team, the three of us worked together on Blyss.

Sujeet and Saurabh handle the Programming and Art respectively while I handle the design and business part of things.

We’ve recently been joined by our 4th member, Siddhesh, who comes from a 3D art & level design background.

It's been nearly nine months since we last spoke to you at NASSCOM 2015 about UNWYND – what's changed for the company since then?

Apart from addition of new members to the studio, we’re also thinking about expanding to different genres as well as platforms.

Steam is one of the primary platforms we wish to target with our upcoming games.

How did the idea for Blyss come about?

The idea for Blyss came to us when we were wrapping up UNWYND on iOS.

During those days, we'd had some internal game jams and we were also scribbling in our notebooks from time to time, trying to come up with something unique and simple, but more engaging than UNWYND. We wanted to try a puzzle/match-3ish mechanic this time.

During one of those scribbling sessions, we just kind of stumbled upon this 3-4 mechanic that we have in Blyss. Everything else fell into place as we explored the mechanic further.

We were being offered a big upfront and a lot of promises to change our vision for the game.
Ankush Madad

How long did development take, and did you use any notable tools?

The overall development took 13 months.

As for the development, we've used Unity to develop the game, and most of the artwork was done using the Adobe toolset.

You were offered the chance to work with a publisher but chose to stay independent – what was the reasoning behind this decision?

Our hesitation on collaborating with publishers had more to do with the kind of model that the publishers wanted.

Some big mobile publisher, whom I'd prefer not to name, wanted us to straightaway check out Candy Crush Saga and Two Dots and copy their free-to-play model using our game's core mechanics.

We, on the other hand, insisted on having a freemium model that made more sense for us. It was a "changing to game for the model vs. adapting the model to the game" argument.

We were being offered a big upfront and a lot of promises to change our vision for the game.

The idea didn't click with us and we finally decided that we’d self-publish the game instead of changing the entire game to something we hadn’t intended for it.

What is it about the premium pricing model that appeals to you over free-to-play?

It had less to do with a personal preference and more to do with our internal strategy.

Let's just say that the Android part of things will be different.

Blyss uses coins as an in-game currency, but no option to acquire any outside of playing the game. Why did you choose this style of currency?

It’s very common in paid games to reward players with in-game currency based on their gameplay, Ridiculous Fishing being a good example of that.

Similarly, in Blyss you get currency based on how high you reach and the method you've used to reach there.

Sujeet working on the game's code

The economy has been fairly balanced and people are able to unlock the content at the right pace.

We've tried to keep the model as flexible and adaptive as possible, keeping the Android release in mind.

How happy are you with the game's launch so far?

It’s getting tougher and tougher to make money from the premium model.
Ankush Madad

It was a satisfactory launch and had surpassed our initial expectations.

Things don't look as promising for paid games though, from a financial standpoint.

It’s getting tougher and tougher to make money from the premium model.

What plans do you have for Blyss in the future?

We’ve some updates in store and we've started working on the Android version of the game.

What does the future hold for Dropout Games more generally?

As I’ve mentioned above, we're exploring different platforms for our upcoming games.

We’ve already started prototyping some interesting stuff and, will be focusing majorly on Blyss' Android launch in the near future.

How PlayRaven is embracing Finland's sharing culture to reboot Spymaster Related Articles Comments Login to to leave a comment Or click here to register Top Stories Events Games Industry Jobs Popular Stories Latest User Comments Videos PGBiz on Facebook PGbiz Staff About Us Steel Media Network

Lasse Seppänen is the CEO & Co-Founder of PlayRaven, a Helsinki-based studio specialized in fresh new strategy games for touch screens.

Lasse has worked in several development and executive roles since 1998 and is best known for his role as Remedy’s Executive Producer for the XBox 360 cult hit Alan Wake.

In a games industry career spanning 20 years so far, Lasse Seppanen reckons he's experienced three distinct waves of mobile gaming.

The first was at the turn of the millennium when he was working on WAP and text message games for very early handsets, pre-dating even the halcyon days of Java.

“Most people don't even remember what WAP means,” he laughs.

Seppanen identifies the second as occurring “around 2003 to 2005”, at which point he was Head of Studio at Sumea.

Here he worked alongside four of Supercell's five co-founders, developing games for early feature phones.

“Ilkka [Paananen] was my boss, who later founded Supercell as the CEO, and the three others were working for me in the studio,” he recalls.

“I know them very well and we share a lot of thinking and DNA. I'm really happy about their success.”

Pastures new

Sumea was subsequently acquired by mobile gaming's then-dominant company Digital Chocolate in 2004, rebranding as the US firm's Helsinki arm.

The following year, Seppanen left the company - and mobile gaming - to work on a secretive new Xbox 360 IP at Max Payne developer Remedy.

I realised that with F2P, strategy was the genre that would be big.
Lasse Seppanen

This turned out to be Alan Wake, a critically-acclaimed psychological thriller on which he was Executive Producer. Seppanen remained at the Espoo-based firm for six years.

The third wave of mobile gaming to which Seppanen refers is the modern era, which offered him the incentive to return to mobile and found PlayRaven in 2013.

“I always wanted to make strategy games,” he explains. “I realised that with the free-to-play model, strategy was really the genre that would be big.

“If you sell one box with one price tag, you don't want people to play it for 10 years.

“That's great for action adventures and shooters, but not great for strategy games. That's one of the reasons strategy never took off in the premium world.”

Unique vision

Some might argue that Seppanen's absence from the mobile games industry was badly timed.

Spending 2005-2013 in console meant that he missed the launch of the App Store and the early hits that came with it, such as Angry Birds and Clash of Clans, returning when the market was arguably already saturated.

Supercell set the formula before PlayRaven was established

But being a new mobile strategy developer in 2013, after Supercell had established an oft-imitated formula with Clash of Clans, gave PlayRaven something to stand in opposition to.

We don't do re-skins, or copies, or clones.
Lasse Seppanen

Seppanen has always been very clear that PlayRaven is only interested in developing “games that bring something fresh and new to the genre and to the platform”.

“We don't do re-skins or copies or clones,” he asserts. And indeed, the studio's three launched games to date - Spymaster, Robocide, and Winterstate - are all very different experiences.

Small teams, big ambition

From a five-person startup in 2013 to 22 employees at the time of writing, PlayRaven has grown steadily but not explosively.

“We haven't gone for hyper-growth,” says Seppanen.

“Think of us like a laboratory. If you're solving a very hard problem - and making a new IP is always a very hard problem - you just need a very limited amount of people who have the passion and experience.”

The core team on Robocide was a mere four people strong. Winterstate's team wasn't much bigger. And yet, PlayRaven still managed to launch the pair within a month of one another to relative success.

Everything in Finland is built with a less is more approach.
Lasse Seppanen

For Seppanen, this is evidence that you don't need a big team to make free-to-play work.

Clash Royale was made by six or seven people - less than 10, for sure - so I think that's the best example that can be provided,” he enthuses.

Made in Finland

Compared to what he describes as the “brute force approach” of some of the bigger F2P developers, Seppanen goes on to praise the simplicity and elegance of Clash Royale's presentation and feature set.

“You only have the minimum of what you need,” he says.

“That is how Nordic design in general works. It's not just games, it's furniture and buildings - everything here is built with a less is more approach.”

The PlayRaven studio

It's an interesting point, especially given the unique togetherness of the Finnish games industry in which PlayRaven is deeply embedded.

I wouldn't say IGDA created the culture, but it's definitely been there to accelerate it.
Lasse Seppanen

Finland's connection with and dominance in mobile gaming is well-documented and Seppanen attributes it to a perfect storm of Nokia's Finnish roots, the dark winter nights, and the sharing culture that exists between __game developers there.

Seppanen has had a hand in the latter, helping to establish the IGDA in Finland in 2012 and acting as its lead coordinator for the first two years.

“I wouldn't say IGDA created the culture, but it's definitely been there to accelerate and enhance it,” he says.

No contest

Sharing projects early and gathering feedback from peers is a key part of the PlayRaven strategy, with regular meet-ups in the region and plenty of like-minded developers willing to take part.

“There's not much to lose by sharing,” Seppanen states. “We decided, even within the open Finnish culture, to be even more open.”

An IGDA Finland meet

He says the benefit of this approach is “maximum feedback at maximum speed” - a scenario that is much more helpful to PlayRaven than the long and isolating process of keeping its cards close to its chest.

We decided, even within the open Finnish culture, to be even more open.
Lasse Seppanen

This is the norm in Finland, with IGDA gatherings recently hitting a record 700 attendees - most of whom were industry professionals. However, it's not like this everywhere.

“In some places the IGDA chapters have unfortunately become relatively academic, so it's mostly students and the professionals might even avoid the meets,” explains Seppanen.

“That's very regrettable and we have the opposite situation.”

Feedback is key

This “maximum feedback at maximum speed” philosophy can be clearly seen in the firm's approach to soft-launching its latest project - a reimagining of 2014's Spymaster.

The game, which takes the original concept in a different direction, was soft-launched after only five months of development.

Prior to this, PlayRaven has never soft-launched earlier than a year into development. For Seppanen this new approach has been a revelation, leading to useful ideas that wouldn't have arisen otherwise.

We want both the metrics and the opinions of the players.
Lasse Seppanen

“We want both the metrics and the opinions of the players,” he says. “We're actively talking to them and hearing their ideas about the latest update, what went well, what went wrong and so on.”

As for the new Spymaster experience, those who played the original might not recognise it.

There's a new art style, an increased focus on social features and a new card-based design that emphasises the player's empowered position as the tactical force behind these individual agents.

The right team for the job

To a large extent, this is due to the fact that the new Spymaster is being developed by an almost entirely new-look team that features only one individual who was at the company before.

A sustained hiring drive that began in 2015 made it clear that PlayRaven was building a team for a spy game, ensuring that it attracted only those who were equipped and excited to take up the challenge.

And it's resulted in an eclectic and international bunch, including a British lead who relocated to Helsinki from China, a Russian backend programmer, an American client programmer who moved his family from San Francisco, a Canadian designer and only two Finns.

The PlayRaven team

He explains that for the first six months, he had to emphasise to the new international team members that showing their work to other companies is to be encouraged - and not in fact fraternising with the enemy or exposing it too early.

A long way to go

But although this new-look team has been quick to soft launch Spymaster, it has no intentions of rushing it to a full release.

It's currently toying with ideas internally, moving away from the traditional structure and presentation of mobile strategy games that we've come to expect.

One of these ideas is to move the emphasis away from the game's map and into the guild chat, making logging in feel like something more akin to a messaging app.

“You would see a bunch of missions in the chat stream,” envisions Seppanen.

“Make it a social stream where you can participate in stuff with others, rather than have this very archaic and maybe old-fashioned way of separating single player and multiplayer.”

PlayRaven Marketing Director Robin Squire sums it up pithily: “like Messenger with backstabbing.”

For a company that's consistently defined itself with creativity in arguably the most homogeneous sector in gaming, you certainly wouldn't bet against it pulling this off.

Top 30 Chinese Developer 2012 Related Articles Comments Login to to leave a comment Or click here to register Events Games Industry Jobs Popular Stories Latest User Comments Videos PGBiz on Facebook PGbiz Staff About Us Steel Media Network

Following three successful years of PocketGamer.biz's western-focused developer round up, we've turned our attention east.

So in association with Umeng and CocoaChina, welcome to the inaugural listing of the top Chinese mobile __game developers.

Given the incredible vibrancy of this industry, both in terms of the Chinese market and its impact internationally, it was a difficult task, but one we - and our trusted contacts and advisors - approached with enthusiasm.

After all, given its size and the rate of smartphone adoption, China is quickly becoming one of the key mobile gaming markets.

Of course, it's one that embraces western brands such as Rovio's Angry Birds and Halfbrick's Fruit Ninja, but local developers are also finding their own rhythm and success as they innovate away from well-worn concepts such as games set in the Three Kingdoms period, and the country's strong tradition in PC MMORPGs.

It's a vibrancy that's well reflected in our top 30 breakdown, which includes some globally-known corporations who are aggressively approaching the international mobile gaming market, down to small start ups, who are looking to push the conventions of gameplay mechanics.

In that respect, then, the Chinese mobile games market is much the same as the industry in many other countries; it's full of opportunity and changing all the time.

And these are the developers who are in the vanguard of that success.

Click here to view the list »

Top 50 Developers 2015 Related Articles Comments Login to to leave a comment Or click here to register Events Games Industry Jobs Popular Stories Latest User Comments Videos PGBiz on Facebook PGbiz Staff About Us Steel Media Network

Welcome to PocketGamer.biz's Top 50 developer list for 2015, which is sponsored by mobile advertising platform Supersonic and developer, publisher and tools company Chukong Technologies. 

Now in its sixth year, it's becoming harder to recall those days when the iPhone 3GS was the only serious gaming device available.

Clearly, there have been a lot of changes since then; something the list reflects in both obvious and more subtle ways.

For example, our list is now truly global, demonstrating you can find world-beating mobile __game developers everywhere from Helsinki, Tokyo, San Francisco, London, Seoul and Shanghai to less well known cities like Karlsruhe and Aarhus.

We're everywhere

A more subtle change is the maturing of the market.

With mobile __game revenues in 2014 estimated to be $25 billion, it's clear that the early days of high growth are over. Instead, in future, developers will be competing for slices of a relatively fixed pie.

And much of that pie is already claimed by companies with annual sales of more than $1 billion. 

That's not to say that new games and new entrants can't shake up the system, however. As demonstrated in Japan and China, radical change is always possible.

Nevertheless, in this year's list, we're focused less on headline financials, and more of the quality of games; something that in future will only become a more important part of exciting the mobile gamer.

And, after all, that should be the starting point for every game.

Click here to view the list »

Were the 21 months Dawn of Titans spent in soft launch a waste of time? Related Articles Comments Login to to leave a comment Or click here to register Top Stories Events Games Industry Jobs Popular Stories Latest User Comments Videos PGBiz on Facebook PGbiz Staff About Us Steel Media Network

The Guinness Book of Records doesn’t have an official category, but the 21 months Dawn of Titansspent in soft launch must be the longest period of live testing a mobile __game has received before release.

There are many reasons for this long gestation.

Having spent up to $527 million buying UK developer NaturalMotion in early 2014, Zynga wanted to ensure the most exciting title from its new studio was as polished as possible.

Formally announced in March 2015, with a late 2015 release date scheduled, Dawn of Titans started its soft launch journey in some interesting territories including Saudi Arabia, the United Arab Emirates and Vietnam.

Zynga, operating under restored CEO and founder Mark Pincus (following the departure of Don Mattrick), then decided Dawn of Titans needed more cooking time.

In November 2015, Pincus told investors Zynga was pushing the __game into 2016, saying “given how strong the early monetisation is for the game, we believe that a move of 200 basis points (2%) in day 30 retention has the potential to make the game a breakout hit”.

Of course, we didn’t know pushing the game into 2016 meant releasing it on December 8th 2016.

Should Dawn of Titans been launched much earlier?

By that stage, Dawn of Titans was in soft launch in 15 countries, with Nordic locations such as Sweden, Denmark and Norway having gained access in October 2015.

Even Chile got in on the act in the final wave of testing in July 2016.

Late to the party

One thing we can be certain is Zynga generated a lot of data about Dawn of Titans.

But given how tastes and design changed in the mobile game market between early 2015 to late 2016, the question that needs to be asked is: Was the process justified in terms of honing a better and more financially successful game?

This can be considered by looking at some charts.

Two countries where Dawn of Titans clocked up a lot of soft launch time were Saudi Arabia and the United Arab Emirates.

Hitting the Google Play top 200 top grossing chart in August 2015 (we’re looking at Google Play because the lines are less volatile and hence cleaner than the Apple App Store), it’s clear Zynga did spend 2015 making the game better.

In November 2015, Dawn of Titans entered the top 50 top grossing charts in the UAE, where it remained until July 2016, peaking within the top 10 in May 2016. In Saudi Arabia, things took longer, but by January 2016, Zynga had a top 50 top grossing game, peaking within the top 30 in April.

It was a similar picture in Denmark and Norway.

Denmark was - and remains - the better market of the two, and Dawn of Titans spent the latter months of 2015 and the first half of 2016 in its top 50 top grossing chart. In Norway, the game was a solid top 100 performer, but only had a prolonged period in the top 50 during May 2016.

What’s significant in the case of all four territories, however, is post-July 2016, the game’s top grossing performance collapsed: it dropped outside the top 100 entirely - even in UAE - also spending time outside the top 200 in Denmark and Norway.

Given the game didn’t launch until December, this four month period would seem to be a missed opportunity for Zynga.

Surely, Dawn of Titans should have been launched much earlier.

Failure to launch

There are some reasons why this was difficult.

For one thing, NaturalMotion’s other big title, CSR Racing 2, was launched on June 30th. Even for a company with Zynga’s scale, launching two big games close together is complex.

The other was in July, Dawn of Titans wasn’t considered ready for a global launch in terms of its functionality. It was updated 14 times in 2016 prior to launch, and eight of these updates occurred post-July.

This is demonstrated by the final two update prior to launch, which significantly speeded up the process of unlocking special units, streamlined the single-player campaign (which was too slow and cumbersome), and overhauled some key user interface components.

Yet at launch, the game still felt old fashioned in terms of the constrained way players are forced to build and upgrade their base, the length of time it takes to get into the action (no autoplay), and the lack of deep retention and monetisation features in its Alliance structure.

F2P mobile games had shifted with faster gameplay, deeper metagame and more flexible monetisation.

Given Dawn of Titans was designed in 2014 and 2015, this should be no surprise. Back then the mobile strategy genre still looked to Clash of Clans as the basis for innovation.

By mid-2016, however, Asian-inspired squad-based RPGs such as EA’s Star Wars: Galaxy of Heroes had been big successes, while card-collection elements and MOBAs were the cutting edge of F2P mobile game design: Supercell’s Clash Royale integrated both to generate $1 billion of revenue.

F2P mobile games had shifted with faster gameplay, deeper metagame and more flexible monetisation.

Do no harm

Still, it could be argued the summer and autumn months spent in soft launch do not appear to have diminished Dawn of Titans’ financial performance.

When it was finally released, its performance in Denmark, Saudi Arabia, and the UAE recovered and was better than in the US, showing the autumn decline in those countries was temporary. Of those four territories, only Norway underperformed the US.

In this way, the soft launch period appeared to improve performance at launch in the stores where it had been in soft launch compared to to non-soft launch countries.

Still, in none of the four countries has the game yet matched its best top grossing performance on Google Play, which occurred in the March to May 2016 period.

And despite Mark Pincus’ statement about the improvement in day 30 retention, and the many updates, Dawn of Titans’ top grossing performance doesn’t appear to have improved much after March 2016, even when the game’s look and feel did.

That’s something which could be attributed to changing market tastes.

The bigger picture

Of course, it should be pointed out, we’re only looking at the game’s top grossing performance and Zynga will have been looking at much more detailed retention and monetisation cohorts across different territories, devices and acquired through different UA channels and predicting the future lifetime value of its players.

But, aside from the game’s revenue, we have to consider the additional cost of running the Dawn of Titans’ dev and live ops teams between May and December, and the six months of revenue Zynga would have generated had it launched the game earlier.

Taking everything into account then, it seems clear while the first six to 12 months Dawn of Titans spent in soft launch were significant for the game’s relatively successful global launch, the best thing that can be said about the last six months is they weren’t.

How has the market responded to the changing genres of Plants vs. Zombies and Best Fiends? Related Articles Comments Login to to leave a comment Or click here to register Top Stories Events Games Industry Jobs Popular Stories Latest User Comments Videos PGBiz on Facebook PGbiz Staff About Us Steel Media Network

Plants vs. Zombies Heroes and Best Fiends Forever were launched within three days of one another.

Launched on October 18th and 20th respectively, each seeks to bring an established IP into uncharted territory with a new genre.

Plants vs. Zombies Heroes takes the series, dormant on mobile since 2013, from tower defence to CCG. Best Fiends Forever, meanwhile, follows up the 2014 match-3 original with an idle game.

It's early days, but how have these games performed in the fortnight since launch?

Off the blocks

Well, as you'd expect of games with such strong IP, neither has struggled for downloads. Plants vs. Zombies Heroes launched first, and proved that there was still plenty of appetite for the series with a peak of #7 on the App Store's US download charts that lasted for three days.

However, it seems unlikely that Heroes can match the phenomenal 25 million downloads 2013's Plants vs. Zombies 2 bagged in its first month.

There's been a drop-off in downloads for Plants vs. Zombies Heroes in its second week, as is inevitable. What might be concerning, however, is the rate at which this is occuring.

Between October 29th and 31st, it has dropped from #73 to #181. But given this trajectory is to be expected, and that it remains in the top 200, there's no cause for major concern.

Best Fiends Forever, meanwhile - which has been available for two days fewer than Plants vs. Zombies Heroes - has performed similarly.

Peaking just shy of Plants vs. Zombies Heroes in the US downloads chart at #9, where it remained for two days, Best Fiends Forever has since steadily dwindled to a position of #107, as of October 31st.

This has been enough for it to secure 5 million downloads already.

An interesting sidenote is that both games prompted a noticeable spike in downloads and revenues for their predecessors.

Indeed, the Plants vs. Zombies Heroes launch propelled Plants vs. Zombies 2 to #93 in the US App Store downloads chart - its first time in the top 100 since August 30th 2015.

The impact of Heroes on PVZ 2's downloads

It also rose from #332 to #223 in the US App Store's top grossing charts.

In the (now-removed) FAQs section on Heroes' official website, PopCap addressed concerns with the series' new direction simply: "Players looking for new Tower Defense experiences can download PvZ2."

However, the fact that people are doing so in such high numbers may be indicative of a less than positive reaction among series fans to the new entry. Or at least, that tower defence should remain a going concern.

As for Best Fiends, which is heavily cross-promoted in Best Fiends Forever, the impact was also dramatic. 

The original __game saw a rise of more than 100 positions in the grossing charts, from #237 to #130, in the five days following Forever's launch.

Cross-promotion pays off for Best Fiends

But how have the new games been performing in terms of App Store revenues?

Let's look at Plants vs. Zombies Heroes first. With a long history of success on mobile and the CCG genre traditionally monetising strongly, you'd expect it to perform well.

And it's done okay so far. A brief peak inside the top 100 (#96) has been followed by what looks like the __game levelling out at around the #120-130 mark.

As for Best Fiends Forever, it's been a less impressive start. Idle games are typically tough to monetise, and Seriously always had a difficult task on its hands to replicate the success of Best Fiends.

Indeed, Forever's current peak is #176, but it was a brief one. A steady downward trajectory has taken it to #333 at last measure.

However, it is worth noting that the original Best Fiends' revenues weren't much more impressive at launch. Instead, it was sustained post-launch with creative marketing - particularly the use of influencers.

With these tricks up Seriously's sleeve, Best Fiends Forever's long-term future should be assured.

Com2uS enters deal with Activision to develop Skylanders mobile game for 2018 Related Articles Comments Login to to leave a comment Or click here to register Top Stories Events Games Industry Jobs Popular Stories Latest User Comments Videos PGBiz on Facebook PGbiz Staff About Us Steel Media Network

Com2uS has licensed the Skylanders IP owned by Activision Blizzard to create a new mobile __game due to launched in 2018.

Com2uS is currently developing the title and will handle all live operations when it launches. Exact details are limited, but it is said to be an RPG with PvP elements.

Skylanders is best known as a toys-to-life series that requires additional peripherals to play. It is unclear if Com2uS' adaptation will utilise the same technology in any way.

Powerful IP

"We are looking forward to collaborating with Com2us, which has proven its ability to deliver exceptional __game development and live services to the global market," said a representative from Activision.

"We will build a successful business model by combining the global mobile game capabilities of Com2uS and the powerful IP of Activision."

The developer has a busy time ahead, thanks to its announcement that it will be spinning-off its own megahit Summoners War into an MMO, cartoon, movie, and more.

[Source: eToday Korea]


This video is unavailable. Why the hell are we still making games?

This video is unavailable. The benefits and pitfalls of working with an existing IP in games

Why freemium and premium aren’t the same when it comes to marketing Related Articles Comments Login to to leave a comment Or click here to register Top Stories Events Games Industry Jobs Popular Stories Latest User Comments Videos PGBiz on Facebook PGbiz Staff About Us Steel Media Network

Peter Fodor is the founder of AppAgent, a service for small and mid-sized mobile developers who are launching a __game or app but need help with marketing and user acquisition.

Deciding whether your newest mobile __game should adopt a freemium or premium business model is one of the most important decisions a developer can make.

It will not only define the way you generate revenue, but will also influence your choice of marketing channels and tactics.

To help you make the best decision for you and your app, we’ve summarised how you can reach your audience with both business models in a playful infographic (which you can see below).

If you’re considering which approach to take to market, it’s worth taking the time to understand the difference in marketing freemium and premium mobile games. So, let’s begin.

More fun with freemium?

It’s clear that free-to-play games offer a much wider range of marketing activities.

But why is that? It’s because marketing isn’t focusing only at making a great impression of the game “on the shelf”.

With a game-as-a-service model, the business relies on engagement and conversion to payers.

To illustrate this, it’s useful to use the famous AARRR conversion metric developed by Dave McClure, founder of 500 Startups

You can see that we’ve adjusted this slightly to make it more relevant to the mobile space, but the principles are still the same.

At every step in the process mobile marketers are able to utilise various tools and tactics that will lead the user to the next stage. The aim is to ultimately reach a lifetime value that’s higher than acquisition cost.

Dark times for paid games

Earlier this year I hosted a panel discussion at game Developers Session 2016 where we covered the possibilities for the promotion and monetisation of paid games.

Compared to freemium models, it’s actually fairly difficult to attract a large audience to paid games, especially on Android.

It’s no secret to anyone in the industry that Google rarely supports paid games by featuring them.

It’s vital to think about the business model you want to follow as soon as possible in the development cycle.

Even on the App Store, where Apple supports lots of paid games, only 21% of all titles have a price tag. Of these 89% are priced at $3 or less, which is quite shocking to me.

The first paid game in the top grossing charts (to be accurate, it’s a paymium title combining upfront payment and in-app purchases) is NBA 2K17 by the publisher 2K. It is at number 182 in the charts.

That means that the top 181 highest revenue App Store games are all freemium!

Decide your path early on

As a business, it’s vital to think about the business model you want to follow as soon as possible in the development cycle.

Choosing between paid, free with ads or freemium defines not only the product, but by a large portion, your marketing strategy and your options for generating revenues.

Jan Ilavsky, Apple Design Award winner with the game Chameleon Run, recommends paid games to individuals, small teams and people who: “basically don’t care about money”. As a fulltime indie developer he makes enough of a living with paid games.

Chameleon Run developer Jan Ilavsky says he makes enough money as a fulltime indie in making premium games

If you have a small to mid-sized company paid games become much more tricky.

London-based studio Ustwo, the team behind a mega hit Monument Valley, invested $1.4 million into the development of the game.

It took the team 55 weeks to finish the original game and another 29 weeks for the DLC Forgotten Shores with eight core team members. With massive support from Apple, Google and Amazon revenues got close to $6 million in its first year, which is over 4x of the costs.

Within two years, the title had made $14.4 million.

But Marek Rabas, CEO of Madfinger Games, doesn’t consider Monument Valley as a success.

“The team went on a very risky path where a smaller support by platform owners could easily result in a big financial loss,” he said at the Game Developers Session in Prague.

Thanks its engaging game design and support from platform holders, Monument Valley has brought in more than million in revenue for developer Ustwo

My personal suggestion is to experiment with free games supported by ads, as these are still fresh and provide less intrusive ways to integrate rewarded videos in the core game loop.

It could be by doubling coins, offering an additional life after failing a level, or allowing a free spin of the lucky wheel for example.

As a developer you can reach a larger audience and build a good foundation for an upcoming title using cross-promotion. It’s also easier to make a viral hit with a free game supported by ads without the complexity of freemium economics.

Feel free to get inspired by our infographics and explore what works the best for you.

Paid games

  • Cross-promotion
  • Focus is on virality
  • Media and influencers
  • Keyword optimisation
  • Selling a branded version
  • Partnerships (such as Starbucks Pick of the Week)
  • Paid free promo
  • Social media & forums
  • Community building
  • Getting featured in the store
  • Video content creation
  • A/B testing of store assets
  • Referrals

Free games (F2P games / games as a service)

All from paid plus…

  • Paid search
  • Mobile install ads
  • Chart boosting
  • Reviews and let’s play by streamers
  • Onboarding optimisation
  • Using rewarded videos to upsell premium features
  • Balancing monetisation
  • Segmentation and personalisation
  • Dynamic difficulty and monetisation
  • Lifecycle optimisation
  • Retargeting
This was part of the MGU course Mobile Games University: Indie Marketing 101. For more articles in this course click here.

PR activity that indies can do for themselves Related Articles Comments Login to to leave a comment Or click here to register Top Stories Events Games Industry Jobs Popular Stories Latest User Comments Videos PGBiz on Facebook PGbiz Staff About Us Steel Media Network

Jacki Vause is CEO at PR and marketing agency Dimoso, which specialises in mobile games and the technology and platforms behind them.

As everyone knows, creating a real marketing impact for an indie __game is a challenge.

The world of mobile games is crowded, discovery is a nightmare and the big boys have deep pockets that allow them to extensively test and run expensive campaigns, employ sophisticated technicians and invest in all the latest analytics and attribution tracking technologies, giving them an immediate advantage over the bootstrapping indie.

Finding an audience

There are currently 2,950,259 apps and games available on iOS at the time of writing.

And that’s just one mobile platform: there are thousands more triple-A and indie releases on mobile, console and PC every month, all looking for players from a similar audience pool and relying on media coverage in the same places.

It’s a daunting task to think about where you can carve out an audience.

For indies, where budgets are minimal and resources for marketing are limited, publishers need to consider how to release a __game and give it the best chance of success.

PR is certainly one tactic they should consider. However, it can’t be seen as the Holy Grail.

It has to be part of a holistic marketing mix which starts with communications in the game itself, spreads through the tools you use to track and optimise and ends with any user acquisition campaign you design.

PR runs through all of these activities, complementing and bolstering them. It also helps you raise your head above the parapet where all your Indie competitors are battling it out.

One of the great things about PR is that for a small investment of time and money, it has the chance to blow up and grab some major interest.

One of the great things about PR is that for a small investment of time and money, it has the chance to grab some major interest.

PR is not as data dependent or formulaic as other marketing tools, but it does deliver results. It could give you that explosion of interest you really need.

The team at Dimoso specialise in mobile games PR which is where many indies operate. We have years of experience and employ some of the best PR professionals working in the games industry.

We have worked with many different developers and publishers - from industry giants to unknown startups and have experienced what works and what does not.

We’ve created some advice how to get the most from PR while working with the limitations and opportunities that come with being an indie.

This information is not a comprehensive strategy, every project is unique. We wanted to draw out a few key points that matter to us and could help indie publishers use PR to successfully release their titles.

Your game

If it’s not great give up. Harsh but fair.

We have turned down representing 90% of the games that come our way because they are simply not good enough. We have seen the Developer relations guys at the app stores tear their hair out when their advice is ignored or simply not taken as publishers rush their games to market.

Get it right. From the start. Make the game GOOD. Really good. Test test test. Take as much advice as you can. No amount of money will make a bad game good. FACT.

Create a strategy

As an indie with a good game you will want to get you game out there and monetising as quickly as possible, but create your strategy before you do.

Have the PR materials ready, anticipate what press are going to ask for, create a list of marketing milestones. Brainstorm a few PR stunts and feature ideas to activate around release date. Have it all nicely placed in a schedule, you do not want to miss a single opportunity.

Company and employee profiles

Define who you are and what you do. If you want to fit into a press agenda, you need to be able to quickly and succinctly say ‘we do this and our game is’. You can do this by creating ready made profiles.

If your company has an unusual history or unique position, tell people about it. If your employees previously worked at impressive companies or on revolutionary products, this makes you interesting. Use these profiles to create news value, reasons why people will want to talk about you.

The press release

We are not great fans of blanket press releases at Dimoso as they fill journalists' inboxes and are not often read.

If your company has an unusual history or unique position, tell people about it.

You are better off with a communication that is more of a media alert and if it is written well it can be a useful tool. It needs to be succinct and it needs to be targeted.

Please don’t send press releases/media alerts about a new game to Tech Crunch or the FT - you will just annoy them.

What has changed is how you use these communications and how you distribute them. It’s a chance to gather all the information in one place. You have got to sell your game and this is your pre-made pitch with materials. Take time to see which individuals write about and review games like yours.

A blanket email will get you nothing. Make personal approaches with your information acknowledging what they have written before and giving them the reasons why they should take the time out of their busy day to play your game and write about it if you are lucky.

Boost your company profile

A lot of mobile games PR is about building reputation within the industry. Mobile games producers need to impress investors, shareholders, potential partners and distribution platforms as well as player.

You are a lot more likely to gain a strong network of partners if you are visible in the industry and creating thought leadership on platforms that people want to hear. You have to really believe your brand and stand up for it. Make comments and draft interesting articles. Work with high profile partners and secure speaking opportunities at events.

Make friends in the press and network

Reach out to people; tell them about yourself and your product. Research people operating in the same area as you, see what they write about, make sure you are the right fit and approach them. Consider what people are talking about in the media or at events and where you fit in that dialogue.

Media monitoring

By using online alerts you can monitor who is talking about indie games topics and news. Monitor who is talking about similar titles, keep an eye out for hot topics in the media.

Reach out to the authors and comment online on the pieces and include in your own blogs or social media posts.

Attend events

Get yourself out there and meet people. Know your elevator pitch and interact with your peers. Get yourself to gaming events and absorb knowledge from other professionals. Make friends at the events and stay in touch.

Events do not have to be gaming specific, but think about business, tech and startups, you may meet a useful mentor or collaborator.

Create content that encourages discussion

From the moment you start to build your concept think of PR, ask yourself what is unique and why will people find this game interesting. Can you put PR into your concept, is your shooter the same as many others, what can you do differently?

From the moment you start to build your concept think of PR, ask yourself what is unique and why will people find this game interesting.

Draw out the unique aspects of your games and make them selling points. Highlight elements from your game and get them into the real world.

Even place things in the game deliberately during conception or an update, create a PR angle. What’s a hot topic in the news, what celebrities make the headlines, can these things be included?

Get Creative with PR ideas

Be inventive and think of crazy ways for people to see your game. This area of PR is the most fun, going a bit mad and getting something out there can grab attention. But be careful as it can backfire done badly. Search online for inspiration.

For example: Got a bow and arrow game? Do a video at the local archery club. Got a car game: Then get on the track.

Incorporate things that people enjoy and get them in your game, look at the seasons and popular global events, make sure your content is a reflection.

Use social media

The challenge for indies is to grow fans in the first place. Make sure to regularly update social media and interact with the games industry. Write a company blog. Research where your potential fans are operating.

Some of the less established platforms are more accessible for low budget or unpaid opportunities. Use the channels that appeal to you, your audience and product.

Combine with paid

PR is most effective when paired with paid options. If you have the budget then combined marketing is the recipe for success. Look into mobile advertising platforms, chart boosts and paid placements

These guaranteed placements, if strategised correctly, will massively impact the success of your PR campaign.

Keep going

PR is most effective when paired with paid options. If you have the budget then combined marketing is the recipe for success.

Once the game is out there and being played get ready for that first update. Listen to user feedback and monitor your social channels for comments. Implement and address what people are saying.

People that take the time to play and comment are doing you a great service, though sometimes negative, this is what you will need to address.

Conclusion

It’s all about small margins for indies. Get one hit, get up one place, make one connection. Be pleased with your results and concentrate on making sure you are getting steady progress. The best results are the small victories that are done well.

Planning and execution are essential to PR. Make sure you do all you can to get things right and be brave. Combine as many elements as you possibly can and get friends to help. Get out in the field and meet people, tell them about your amazing games and stay positive.


This was part of the MGU course Mobile Games University: Indie Marketing 101. For more articles in this course click here.

Big Indie Pitch & Big Indie Drinks @ GDC 2017 in association with iDreamSky,Omlet Arcade & Zeptolab Comments Login to to leave a comment Or click here to register Gold Sponsors Events News Events Games Industry Jobs Top Stories Popular Stories Latest User Comments PGBiz on Facebook PGbiz Staff About Us Steel Media Network

Next Games looking to $30 million IPO to boost development and global competitiveness Related Articles Comments Login to to leave a comment Or click here to register Top Stories Events Games Industry Jobs Popular Stories Latest User Comments Videos PGBiz on Facebook PGbiz Staff About Us Steel Media Network

Teemu leads Next Games’ business development and supports the rest of the management team in their planning. Teemu is determined to build Next Games into the next big thing in games and is also a firm believer in open work culture. With 15+ years of games business experience, most recently he was with Rovio leading selected corporate development efforts as Head of Mergers and Acquisitions. His previous roles include EVP Mobile, Business Development and Communications with Sulake, the makers of Habbo Hotel as well as managing his own games company. Teemu is a Board member at MAG Interactive, a highly successful Swedish casual mobile __game developer.

Helsinki-based mobile developer Next Games has revealed plans for a $30 million IPO with a listing on the NASDAQ First North Finland marketplace.

The developer is looking to use the IPO as part of its growth strategy moving forward into 2017. It will also attempt to gain better recognition in the games industry by becoming more visible as a public company.

Funds raised through sale shares will be used to grow the studio and to develop new titles. Next Games will also continue to develop and maintain its flagship title The Walking Dead: No Man's Land.

Effective business model

"The cornerstone of our strategy is to develop and publish mobile games based on entertainment franchises. The effectiveness of our business model, demonstrated by our track record, forms a foundation for bringing new games to the market," said Teemu Huuhtanen, CEO of Next Games.

"The contemplated IPO plays a key role in supporting Next Games' development to an even stronger mobile __game company. The proceeds from the contemplated IPO are intended to be used to support our growth."

Next Games also revealed that No Man's Land had surpassed 16 million downloads since first launching in September 2015. The game is a poster-child for rewarded video ads, with up to 80% of its player-base opting in to watch ads.


Remaining Kabam studios spun-off into new company Aftershock following Netmarble sale Related Articles Comments Login to to leave a comment Or click here to register Top Stories Events Games Industry Jobs Popular Stories Latest User Comments Videos PGBiz on Facebook PGbiz Staff About Us Steel Media Network

The remaining assets of Kabam have been spun-off into a new company following Netmarble’s acquisition of its Vancouver studio, Marvel: Contest of Championsand a number of its employees.

The new studio will be called Aftershock and includes many of the same leadership and publishing teams. It will also house Kabam’s former LA and San Francisco-based studios.

The latter team is currently prototyping a new __game while the former is developing a massively multiplayer title based on James Cameron’s Avatar film franchise.

The LA studio is also said to be working on a new unannounced __game based on an “iconic entertainment brand”.

Still for sale

The news comes as Netmarble’s now completed acquisition includes Kabam as a wholly-owned subsidiary – with Tim Fields promoted to CEO of Kabam Games.

A statement to PocketGamer.biz said the new company Aftershock has already “opened itself for acquisition and has begun conversations with prospective buyers for all or parts of the company”.

This is keeping in line with the Kabam leadership’s previous intentions to sell all parts of the company.

The executive team at Aftershock includes CEO Kevin Chou, CFO Steve Klei, President of Studios and Live Services Aaron Loeb and COO Kent Wakeford.


LINE Corporation signs up to distribute mobile Skullgirls adaptation globally Related Articles Comments Login to to leave a comment Or click here to register Top Stories Events Games Industry Jobs Popular Stories Latest User Comments Videos PGBiz on Facebook PGbiz Staff About Us Steel Media Network

Mobile __game publisher Autumn Games has closed a deal with LINE Corporation to distribute its upcoming fighting __game Skullgirls across the globe.

The game is a free-to-play mobile adaptation of the console game Skullgirls, originally developed by Lab Zero.

The mobile edition is being developed by Hidden Variable Studios, best known for casual puzzler Threes!.

Looking forward to great success

This is the first time LINE has agreed to a distribution deal with a US-based publisher. It has previously seen global success with titles such as Disney Tsum Tsum, which has managed 60 million downloads.

"We're honored to partner with LINE and its more than 220 million monthly active users, who are an important part of the mobile social fabric globally," said Jason Donnell, co-founder of Autumn Games.

"We look forward to great success together bringing our highly anticipated Skullgirls mobile franchise to gamers worldwide."

Skullgirls is expected to launch on Android and iOS in Spring 2017. It is already available in soft launch on iOS in the Philippines.


Chartboost sees 123% better conversion rates with new interactive 'Playables' ad campaigns Related Articles Comments Login to to leave a comment Or click here to register Top Stories Events Games Industry Jobs Popular Stories Latest User Comments Videos PGBiz on Facebook PGbiz Staff About Us Steel Media Network

Mobile ad platform Chartboost has doubled down on its commitment to interactive ads with the launch of its new Playables campaigns.

The ads will allow players to sample a small portion of a __game directly within another app. The ads are designed to load quickly and allow users to exit at any time rather than forcing them to reach a certain point in the ad.

The ads have already shown a 123% increase in conversions over static ads and a 26.7% increase in D7 retention for the games across all genres.

Growing Madness

One case study using developer Product Madness saw an overall increase of 70% in conversion rates for its advertised __game over static ads.

"We want the first experience someone has with a Product Madness game to be instantly engaging and fun. This can be a challenge with static or video – it's a passive experience," said Patrick Witham, Director of UA at Product Madness.

"Now with Chartboost's interactive playable ads, the player gets a taste in under 20 seconds so when they install we already know that they're engaged."

Chartboost's Playables are still in beta at present. Developers interested in using the ads for their games can contact Chartboost to work on releasing a Playables campaign.


Strategy specialist InnoGames snaps up Warlords IP from Wooga Related Articles Comments Login to to leave a comment Or click here to register Top Stories Events Games Industry Jobs Popular Stories Latest User Comments Videos PGBiz on Facebook PGbiz Staff About Us Steel Media Network

After a brief venture into midcore games development, last year Pearl’s Peril and Jelly Splash developer Wooga made the decision to focus back solely on casual games.

The move resulted in restructuring at the company, the cancelation of a couple projects and the closure of its spin-off studio Black Anvil Games, which had just released strategy __game Warlords.

The __game was received well by critics, but had seemingly struggled to bring in significant revenues. And ultimately, it didn’t fit in with Wooga’s refocus on casual.

New Lords

But the Berlin developer was keen for the game to live on. As such, it has negotiated a deal to sell the Warlords IP to strategy games specialist InnoGames.

The Hamburg-based studio, which has worked on titles such as Forge of Empires and Elvenar, will now continue the development of Warlords, with ambitions to support it for years to come.

Speaking to PocketGamer.biz, Wooga CEO Jens Begemann says he was happy to talk to InnoGames after the studio showed interest in the title, and the move should satisfy players while letting Wooga shift its business away from midcore.

“I think any company, if you have a focus, you’re better,” he states.

“And we were just doing both, we were doing casual games and midcore games. By doing both, I think we were not best in both categories. Therefore we made the clear decision to choose between the two, and then the decision was very clear for me to focus on casual because that’s where we’ve had our success in the past, where I think we have a lot of competence.

I think any company, if you have a focus, you’re better.
Jens Begemann

“We’re very strong in the field of hidden object games with Pearl’s Peril, and we’ve had a lot of success with games like Jelly Splash, Diamond Dash and Bubble Island in the puzzle segment.

“Therefore I think we have a lot of competence in casual and a lot of passion for casual. Therefore that decision then, when choosing between the two, to go for casual was very clear for us. “

A good fit

For InnoGames's part, Warlords seems to slot in nicely with the studio's portfolio of strategy games while also helping the company to continue building up its presence on mobile.

The developer aims to put together a team of more than 15 people on the project and has been in contact with some of the original developers at Wooga to ensure a smooth transition.

A few key team members from the original Warlords team have formed a new develpoment outfit with Snowprint Studios and will not be involved in the project going forward.

But InnoGames has some big, long-tern plans for the title that will take it in its own direction.

We have shown multiple times we can run games for many years. Our very first game Tribal Wars is now 14 years on the market.
Hendrik Klindworth

“Warlords is already a great game, but we still have some ideas to further improve it and build additional content for the players,” explains InnoGames CEO Hendrik Klindworth.

“But it really fits into our portfolio, it’s really like one of our games and this will help us to continue our growth in the strategy segment. We’re very happy to have this game, and then of course we’ll also use the expertise we have for live game operations.

"We have shown multiple times we can run games for many years. In an extreme case, our very first game Tribal Wars is now 14 years on the market.”

Promising future

When Warlords was soft-launched by Wooga, the studio claimed at the time it had enjoyed the best metrics of any Wooga soft launch title during a year-long testing period.

It was perhaps a surprise then that the game struggled for success in the top grossing charts upon its full release.

Begemann admits that much of this was down to Wooga’s strategic decision to shift away from midcore. As a result of that, Warlords had “no marketing investment whatsoever”.

This hasn’t deterred InnoGames however. Klindworth says the quality of the game, combined with the active userbase it’s still been able to gather without a big marketing push, means there’s room for Warlords to grow in future.

New plans include improving the multiplayer aspects of the game and adding a string of new content for users.

“At some point we’ll also start marketing activities to bring in new additional players, and we’re very confident that we can grow the revenues,” he says.

Creativity within restrictions is the key to success, says chat game dev Palringo Related Articles Comments Login to to leave a comment Or click here to register Top Stories Events Games Industry Jobs Popular Stories Latest User Comments Videos PGBiz on Facebook PGbiz Staff About Us Steel Media Network

If you want to know true cold visit a Swedish games studio on the morning when its heating has exhaled one last, rattling death gasp.

As tendrils of ice snaked across the city of Gothenburg, Palringo’s __game development team were huddled indoors wearing enough layers to insulate the Vatnajökull ice cap.

It's not the best time to have come for a studio profile visit. 

Chat is hot

Having shored itself up as one of the leading lights in mobile UA, Palringo is a community and gaming platform built around an app that gives players and developers a direct line to chat about games.

While its business is centred on selling rich media messages, premium features and chat apps, 85 percent of the UK-headquartered company’s revenue comes from games.

As such, the Gothenburg office is a sprawling hub of different teams working on an arsenal of projects – from new games, to creating feedback loops between players and developers.

Its employees are delightful. Like a member of its tester team who gazes lovingly at the model Death Star on his desk, beaming as fingers of ice scratch against the window outside. For perspective, he is wearing shorts.

Palringo's __game development is based in Gothenburg and contains the Death Star

Palringo’s CMO Magnus Alm also embraces eccentric fashion, wrapped in his grandfather’s old smoking jacket where (midway through our tour) he exclaims with alacrity “I found a toothpick in the pocket!”

Then, as we walk past one particularly diligent team hunched over their monitors, Alm whispers quietly “they are responsible for watering the plants.”

He gestures to a wizened husk of a plant drooping off the windowsill.

The importance of social

But questionable greenery aside, this is an office that buzzes with activity. Abandon all hope, ye plants that enter here because Palringo’s developers are too busy creating to brush up on their botany skills.



“Integrating social and game is the whole reason I wanted to work here,” one of the game producers tells me.

For us social means that we truly want people to play together.
Magnus Alm

“It creates some completely unusual experiences as you try to get ‘chat people’ who are not into games and ‘game people’ who are not into chat to exist side by side.”

Trying to unite the two is a task easier said than done, but be successful and you unpick a rich new seam of potential users for your game.

In December 2015, Palringo ran an experiment with its casual game Balloony Land. By incentivizing engagement within the Palringo app, Balloony Land reached the top 10 download charts in 9 countries on iOS and 7 on Android.

Plus, the equivalent CPI cost was $0.44 compared to the industry average of $1.70.

“For us social means that we truly want people to play together,” says Alm.

Typing with leather gloves is necessary with a broken heater

“We are soon launching a chat game called Gunpowder, where groups of players will man a ship and fight pvp style against other groups," Alm continues. 

"We are innovating on the graphic experience of these type of chat games, and as you can see with Facebook Messenger games, others are following that path as well.”

Creativity within restrictions

Johan Peitz, Palringo’s head of product management, describes his job at the company as “the man with the broom in curling.”

We’re interested in creativity within restrictions.
Johan Peitz

Having once created indie-hit Icy Towers, Peitz provides a guiding force to all facets of Palringo’s operations. Between him and Alm, both have over 20 years experience in the games industry – and there’s one thing they think many companies overlook.

“Many game companies lack business focus,” says Alm. “We meanwhile have a clear focus on business targets – we can’t lose focus. It’s not enough to just create fun games, you have to swing on the pendulum from passion to business.

“We’re interested in creativity within restrictions,” agrees Peitz. “It forces people to think outside the box. The reality is that blank paper can be paralyzing.”

For Alm, it’s summed up by the fact that “Anyone who has ever developed a game know the importance of the term ‘kill your darlings’. It is so easy to embark on a trip down feature creep lane, without even knowing it.

“We believe in creating a fun core and then build your product outwards from that, anyone who has tried the opposite knows that it is costly and time consuming.”

Table tennis provides a focal point for the office

Still, that’s not to say that Palringo does not prize passion.

According to Magnus, “numbers and metrics might tell you that engagement is down, but they don’t tell you that to raise it you need a new enemy.

“You can’t just tweak based on metrics, you need to find that creative flair. Like a rocket fart.”

He points to a raspberry blowing sound effect in Balloony Land as a rapidly deflating balloon cavorts across the screen, gives a satisfied grin, and goes to play table tennis with the rest of the Palringo team. 

Because, after all, Palringo never forgets the importance of being social.

Mobile marketing firm Mobvista agrees $100 million loan deal with Bank of China Related Articles Comments Login to to leave a comment Or click here to register Top Stories Events Games Industry Jobs Popular Stories Latest User Comments Videos PGBiz on Facebook PGbiz Staff About Us Steel Media Network

Mobile marketing firm Mobvista has been granted a $100 million credit facility with the Bank of China.

The deal is said to represent the largest agreement in the history of China's mobile marketing sector.

Mobvista aims to use the money accelerate its expansion in overseas markets.

That could mean further acquisitions for the firm, which bought ad company NativeX and analytics platform GameAnalytics in 2016.

Marketing's millions

"For an asset-light Internet company, the trust behind the strategic cooperation with Bank of China wasn't easy to build," said Mobvista CEO Wei Duan.

A statement from the Bank of China added: "Today's credit facility is based on the recognition to mobile marketing industry, which is in line with Bank of China's commitment to become an efficient and professional partner addressing all demands of small and medium businesses."

Mobvista was founded in 2013 in Guangzhou, China, and focuses on user acquisition and traffic monetisation services. The company floated on China’s National Equities Exchange and Quotations for small-to-medium-sized businesses.

The marketing outfit’s half year revenues for 2016 were $118 million, from which it generated a net profit of $11.5 million.


Top 50 Developer 2013 Related Articles Comments Login to to leave a comment Or click here to register Events Games Industry Jobs Popular Stories Latest User Comments Videos PGBiz on Facebook PGbiz Staff About Us Steel Media Network

Four years ago, we launched our first annual rundown of the best mobile __game developers in the world, and this year's selection is more vibrant, exciting and global than ever.

But, of course, that's only to be expected given the industry itself is more vibrant, exciting and global that ever before.

As for the unveiling, we'll be kicking off the countdown tomorrow with numbers 50 to 41: presented thanks to our sponsors 'Math Behind the App Stores' data experts App Annie, and the largest Chinese mobile __game developer platform CocoaChina.

The countdown will continue daily, and include our special 10 To Watch list of the upcoming studios we think could be challenging for 2014's list.

The top 10 will be revealed at an exclusive event in San Francisco next Sunday evening prior to the start of GDC.

A who's who?

Of course, we're not going to reveal any of the winners yet, but we can divulge some information.

There are 19 new entries in the 2013 list, compared to 23 new entries in 2012, with four new entries appearing in the top 10.

And looking at geographical breakdown, the US is best represented with 17 entries, followed by Europe at 15 and Japan with seven.

Four are UK developers (the best represented European country), four from Korea, and three each from Russia and China.

Click here to view the list »

Top 10 mobile game developers to watch in 2012 Related Articles Comments Login to to leave a comment Or click here to register Events Games Industry Jobs Popular Stories Latest User Comments Videos PGBiz on Facebook PGbiz Staff About Us Steel Media Network

Over the past five days, we've counted down the companies we consider to be the best in the mobile gaming industry.

Of course, all such lists are - to a degree - subjective.

If we only had the information, we could generate a top 50 in terms of total downloads, daily or mobile active users, or sales and profitability. Yet the comparative ease of such information - even if it were ever available - would make such a list lifeless and generic.

The strength of PocketGamer.biz's annual top 50 is the combination of hard and soft information, albeit it from a geographically and culturally North Atlantic view point.

Something completely different

In this context, the following list of 10 mobile developers to watch isn't so tightly compiled. 

My thinking is that as the industry matures, the top 50 list will become less dynamic - there will be less opportunity to release a surprise hit, to come from nowhere and generate $10 million in sales, do an Angry Birds or a Tiny Wings.

And that's where our 10 To Watch list comes into play.

It's a personal view of companies I've closely followed in the mobile gaming space - ones I think have the potential to make it big this year. 

It's not meant to be exhaustive and it's not a comparative rank - merely alphabetic. 

Also, there are plenty more companies who could fit into this definition. To that extent, this is a subset, while the point of the top 50 is that it's the set.

Similarly, 10 To Watch is a list that's going to change year-on-year. My hope is some in this year's list will make it onto the definitive top 50 in 2013.

I guess we'll see...


Click here to view the list »

Silicon Studio to release new mobile and VR game engine Xenko in April Related Articles Comments Login to to leave a comment Or click here to register Top Stories Events Games Industry Jobs Popular Stories Latest User Comments Videos PGBiz on Facebook PGbiz Staff About Us Steel Media Network

Japanese tech firm Silicon Studio will release a new mobile and VR __game engine called Xenko in April 2017.

The open source tech is being designed for teams of all sizes, from indies working on mobile games to triple-A studios developing virtual reality titles.

Xenko will support the latest version of C# and it comes packed with a scene editor and a built-in prefab system and scene streaming system. Other features include a full asset pipeline, a PBR material editor, script editor, particle editor and more.

A free Beta version of the engine is currently available to download.

Fulfilling future needs

Silicon Studio has previously been known for its development tools such as advance optical effects middleware Yebis and real-time rendering engine Mizuchi.

It has also worked on the 3DS series Bravely Default for Square Enix.

"The decision to move from middleware to a full __game engine was actually a fairly easy one for us," said Terada Takehiko, CEO of Silicon Studio.

"We were in a position to address some of the complaints developers have about the other commercial game engines on the market, and from there we began to see what developers of the future will need to be successful, including VR and mobile support."

Silicon Studio will be showing off the tech during GDC in the Moscone Center at booth #624.

You can find more details about the Xenko game engine on the official website.


Mobile Games University - How to get a job in games: Crafting the perfect CV Related Articles Comments Login to to leave a comment Or click here to register Top Stories Events Games Industry Jobs Popular Stories Latest User Comments Videos PGBiz on Facebook PGbiz Staff About Us Steel Media Network

So you’ve found a great job you’d like to apply for, in which you fulfil most, if not all, the criteria set out.

The next step is likely to have to send out a CV and Cover Letter to show off your experiences, qualifications, a little about who you are and what you can bring to the table.

Like with all the advice here, you need to find what’s right for you, the kind of role you’re applying for and that which fits your personality.

But there are plenty of tips available on creating a top notch CV and Cover Letter to grab the attention of a recruiter and bag an interview.

This is the first step – but it’s arguably the most important one. Without getting past this stage, you won’t have a chance to show off your skills in person.

Top ten CV writing tips for __game developers

Stig Strand of recruitment agency Amiqus offers some key tips on crafting the best CV, from how many pages it should be to telling the truth and just what to include.

Writing the ideal CV for the games industry

SkillSearch’s Guy DeRosa offers CV writing tips and offers up a few examples, from an interactive website to how Yahoo CEO Marissa Mayer fits her entire CV on one page.

Your CV, and Applying for __game Jobs

Creative Director Phil Goddard discusses crafting a CV in depth, with a particular focus on advice for creatives.

How To Write Your Video Game Industry Resume

Career Coach Rick Davidson, whose credits include Next Level Games and PopCap, gives quick tips about writing a CV for a job in games, and provides a downloadable example CV with notes on what to include and where.

Below, Davidson also offers advice not directly related to writing your CV, but has tips that could prove useful in understanding the mindset of an employer.

This Cover Letter Will Get You Into the Gaming Industry

Staff at InnoGames, one of Germany’s biggest games developers, give their suggestions for writing a great Cover Letter to go with your CV.

Get Your Dream Job: 5 Secrets to Writing a Killer Cover Letter

Olga Novikova offers basic but useful suggestions on writing a Cover Letter and why it's important to do your research and show off your knowledge in the industry and profession.


Get your next job in mobile games from the PocketGamer.biz Jobs Board Related Articles Comments Login to to leave a comment Or click here to register Events Games Industry Jobs Popular Stories Latest User Comments Videos PGBiz on Facebook PGbiz Staff About Us Steel Media Network

[If you're a games company that's currently hiring in one of the listed locations, please let us know by emailing matt.suckley@steelmedia.co.uk.

You can also search for jobs and post new vacancies on our jobs page for free!]

With so many mobile __game companies in the world, it can be difficult to keep track of all the latest job opportunities available.

That's why PocketGamer.biz has decided to launch the Jobs Board, a directory of mobile games companies that are currently hiring, organised by location.

This is a work-in-progress, and will be regularly updated with more countries and companies.

Hot jobs

But first off, each week this page will be updated with a selection of hand-picked new and noteworthy opportunities from around the world.

Here are PocketGamer.biz's current top picks:

  • EA Firemonkeys, is seeking a Brand Director Mobile to handle brand management on titles such as Real Racing 3 and The Sims FreePlay at the Melbourne studio.
  • Karlsruhe, Germany-based mobile publisher Flaregames is hiring a Head of Studio.
  • Rival Kingdoms and Transformers: Earth Wars developer Space Ape is looking for - and this is quite the title - a F---ing Awesome Designer to join its London studio.
  • Traplight is on the hunt for a 3D Artist to join its Tampere, Finland studio.
  • Candy Crush Saga developer King is hiring a Level Designer - Mobile FPS to join its Stockholm studio.

You can also hit these quick links to go direct to the locations

  • Denmark
  • Finland
  • France
  • Germany
  • Poland
  • Sweden
  • UK/England
  • UK/Scotland
  • Australia
  • The Netherlands
  • Canada - British Columbia
  • Canada - Ontario
  • Canada - Quebec
  • Canada - Others
  • The PocketGamer.biz jobs page

Click here to view the list »

Report: King closes South Korea office Related Articles Comments Login to to leave a comment Or click here to register Top Stories Events Games Industry Jobs Popular Stories Latest User Comments Videos PGBiz on Facebook PGbiz Staff About Us Steel Media Network

Candy Crush Sagadeveloper King has closed its office in South Korea, according to reports.

MMO Culture cites local media claiming the publisher had withdrawn from its operations in the country.

Its live games in South Korea will now be handled in Sweden and by local distribution partners.

It is not known how many staff were affected by the decision to shut down the office.

Not a top grosser

Unlike in other countries such as the UK and US, where its portfolio of titles such as Candy Crush Saga are mainstays of the top 10 App Store top grossing charts, King has struggled to reach those heights in South Korea.

As of February 23rd, Candy Crush Saga was ranked 133rd on the App Store top grossing charts, with Farm Heroes Saga in 567th, Candy Crush Soda Saga in 67th and Candy Crush Jelly Saga in 212th.


Snapshot of key mobile game company financials in 2017 Related Articles Comments Login to to leave a comment Or click here to register Events Games Industry Jobs Popular Stories Latest User Comments Videos PGBiz on Facebook PGbiz Staff About Us Steel Media Network

Given the size of the mobile games industry, it's no surprise that many companies have sufficient scale and/or growth to be able to float themselves on various stock markets around the world.

And that means every three months, we get a deluge of financial information concerning their sales over the previous quarter.

It's a lot of information and sometimes difficult to place into context, so we've come up with this handy list format, which highlights the performance of key players in the mobile games space during the past quarter.

Companies on this list are ranked in terms of quarterly mobile revenues, starting with the largest.

  • King (Activision Blizzard) - $436 million
  • GungHo Online - $220 million
  • Zynga - $151 million
  • EA Mobile - $148 million
  • Com2uS - $118 million
  • Nexon - $105 million
  • Glu Mobile - $46 million

Click here to view the list »

Machine Zone's Gabe Leydon on why he cares about more players' time than their money Related Articles Comments Login to to leave a comment Or click here to register Top Stories Events Games Industry Jobs Popular Stories Latest User Comments Videos PGBiz on Facebook PGbiz Staff About Us Steel Media Network

Gabriel Leydon co-founded Machine Zone (formerly known as Addmired) and has served as its Chief Executive Officer since January 2008. Mr. Leydon is the company’s visionary and overseas product design, monetization, recruiting as well as all levels of operations.

Under Mr. Leydon’s direction, Machine Zone has changed the face of mobile gaming with its most recent game, “Game of War – Fire Age”, a real-time mobile massively-multiplayer online __game and parallel chat-speak translation application that translates over 40 languages for its players in real-time, connecting __game players around the globe at the same time in a single virtual universe.

Prior to co-founding Addmired, Mr. Leydon spent seven years in the coin-op arcade business at companies such as Atari, Tsunami Visual and Global VR. From 2006 to 2007, Mr. Leydon designed, from concept to completion, the “America’s Army” arcade game, the very first arcade game designed for the U.S. Army. With support from the Pentagon and the U.S. Armed Forces, Mr. Leydon launched a successful advertising campaign with a 24/7 running commercial for the Army in highly trafficked areas such as movie theaters and arcades.

As a prominent figure in the games industry, Mr. Leydon has had speaking engagements at high-profile industry conferences such as the Games Developers Conference, MobileBeat, Casual Connect, and Inside Social Apps and has been featured in the media with such publications as The Wall Street Journal, New York Times, TechCrunch and VentureBeat.

Few people in the mobile game world are more passionate or outspoken than Gabe Leydon.

So if the founder and CEO of Machine Zone (previously Addmired) has been quiet recently, it's with good reason.

He's been working on a new game .

"It ended up being much more than I thought it would be," he says of the 16 month development of Game of War: Fire Age.

"It took on a life of its own."

Something different

Never one to shy away from an ambitious goal, Game of War is Machine Zone's latest attempt to combine the best elements of a PC MMOG with the 24/7 accessibility of mobile gaming.

It's a process that started for the company way back in 2009 with games such as iMob Online, Original Gangstaz and Global War.

Game of War is the culmination of those millions of downloads and ten of millions of hours of gameplay, not to mention the $8 million investment round Machine Zone closed in March 2012.

In Leydon's view, it's also a very different game from what's being offered by other mobile developers.

"We're going in the opposite direction to the mid-core trend," he explains.

"This is a complicated game. We're trying to make it more complicated. I think players need to feel like they are mastering something."

Making it mobile

It's a decision that seems to be bearing fruit, though.

During a prolonged soft launch in New Zealand, Australia, Singapore, France and Mexico, Leydon says that the average player has been spending two hours daily in Game of War.

He says it's an amazing figure, particularly as it's broken down into across 10 sessions per day.

"People are playing it more than people play PC MMOGs," he says.

"It's because we put everyone into a single, persistent, real-time world and they can always play it, because it's on their phone. That's the strength of the game because that's the strength of mobile."

In this way Leydon argues developers who look to bring 'console experiences' to mobile, don't understand the market.

"You don't need to bring a console experience to mobile. You need to focus on the unique properties of mobile," he says.

"It's not about the graphics. And it's not about the touch interface. It's about accessible and persistent online gaming."

More than money

In a similar manner, Leydon has strong words about the industry's approach to monetisation.

Game of War is free-to-play (exclusive to iOS) but it's a longterm project for the company.

"If people play your game for 100 hours, it's not a big deal for them to spend money. But it is if you're trying to monetise after two hours," Leydon says.

Indeed, Machine Zone's entire approach is to focus on getting people to play its games, for long periods of time, and getting them deeply engaged with social features; in the case of Game of War its alliances system.

"There's special alliance currency which can be used to buy premium items for free," he points out.

"Getting people into an alliance is more important to us than getting money from them.

"Free-to-play isn't about pushing people to spend money. Not enough developers realise this."

It's about time

And this is why, for Leydon, the key metric is always time.

"I want players' time. Making the game fun is about trying to capture more of the players' time, and the time a player puts into the game is what makes it fun," he explains.

"We have loads of features in the game. There's a hierarchy of players, there's the whole history of your gameplay, and the game is a means of broadcasting this."

In that context, monetisation is a necessary - but secondary - outcome.

"The bottomline is you can't make money with free-to-play games if people aren't playing your game," Leydon ends.

"Free-to-play is the monetisation of time and this game is going to running for years."


Netmarble closes acquisition of Kabam Vancouver and Marvel: Contest of Champions Related Articles Comments Login to to leave a comment Or click here to register Top Stories Events Games Industry Jobs Popular Stories Latest User Comments Videos PGBiz on Facebook PGbiz Staff About Us Steel Media Network

Netmarble's acquisition of Marvel: Contest of Champions developer Kabam for an undisclosed sum has now been completed.

Netmarble has now acquired Kabam's Vancouver studio, responsible for its top performing Marvel __game and the upcoming Transformers: Forged to Fight.

It has also picked up the Customer Support team at Kabam Austin, and parts of the Business Development, Marketing Art and User Acquisition teams from Kabam San Francisco.

Kabam Games will continue to operate as a wholly-owned subsidiary of Netmarble and will be headed up by new CEO Tim Fields, who previously held the role of Senior VP and GM at the company.

A perfect fit

"We're excited to welcome Kabam to the Netmarble family and support their continued success in the competitive mobile games marketplace," said Seungwon Lee, Chief Global Officer of Netmarble Games.

"The acquisition is a perfect fit. Kabam has a proven track record of developing games based on iconic entertainment brands, powered by state-of-the-art technology and managed by an incredibly talented team."

Kabam COO Kent Wakeford said earlier in February 2017 that it would look to sell off its remaining studios and assets once the Netmarble deal closed.

It also wound down its team in Beijing following the poor internal performance of soft-launched title Legacy of Zeus.


Flashback Friday: I've played Clash of Clans more than any other game, but now it's time to log off Related Articles Comments Login to to leave a comment Or click here to register Top Stories Events Games Industry Jobs Popular Stories Latest User Comments Videos PGBiz on Facebook PGbiz Staff About Us Steel Media Network

Back in September 2013, after a year of playing Clash of Clans, Jon Jordan decided to move on.

So with Supercell's fourth __game Clash Royale now out, we thought it would be a good opportunity to revist the article as part of Flashback Friday.

 

As with everything in life, there are beginnings and there are endings.

Some can be excited and unexpected, while others are best when planned and measured.

That's what I'm thinking a year on from when I first started playing Supercell's Clash of Clans.

At the time, I didn't know much about the game, and certainly during the Canada-only beta in August 2012, no one expected it to have the commercial and cultural impact it's since generated as one of the most played and profitable games in history.

Equally, on a personal level, I've never spent so long playing a game, or indeed, spent so much money in a game.

Slippery slope

So let's get the money bit out of the way.

As with many players, my first purchase in Clash of Clans was the 3,000 gems required to buy an additional builder: a hard gate designed into the __game during the early stages (around one month in for me) when you have a relative large amount of resources but are restricted by your lack of builders in terms of how quickly you can spend them.

In total, though, I've spent over $70, buying currency to speed up buildings and buy defences that provided significant new features.

Yet, as must be the case with such resource-based games, there’s only ever a brief plateau of satisfaction before another new unit or building update makes itself known to our envious brain.

This is most clearly seen in the update cycle surrounding your town hall, which is the core building that controls the levelling up process for your key resources - notably gold and elixir mining.

It's the most expensive building to level up, but once you've completed this, all that's happened is you've opened another layer of increasingly expensive upgrades, which quickly overwhelm the higher capacity resource production you've also unlocked.

Infrastructure costs

Of course, the city-building aspect of Clash of Clans is not the game itself.

It's merely the foundation on which you build your armies, either to play the single-player (effectively the practice) mode, or attack other players for resources and ranking; an element most fully experienced in the game's Clans mode.

To be honest, though, this was something I never found very exciting; preferring instead to act as a supplier of troops for the other players in my clan.

My base - not too good, not too bad

Not that I got much praise for it. The most 'exciting' thing that happened in terms of my clan-play in Clash of Clans was when some (no doubt) snotty-nosed imp kicked me out of the clan for not playing enough.

The very cheek of it!

Calculated swansong

So, even though I joined another clan, from that point on, my enthusiasm for the game was waning.

After a year of fairly regular play (at least once every couple of days), I was at the stage when any upgrade took days to complete.

Also, it was now almost impossible to organically collect enough resources to upgrade a building as, in the meantime, someone would attack my base and steal most of them; hence the only upgrade option available being to buy gems.

So, being of the analytic persuasion, I worked out how much it would 'cost' to upgrade everything in my base to its next level.

In in-game currency terms, the answers was 103.7 million gold, 45.65 million elixir and 10,000 dark elixir.

In hard currency terms that's 49,225 gems, which converts to $351.57; despite my relatively advanced in-game level, for me that was a surprisingly large number.

Learnings

Yet, time and money has not been wasted.

Any journalist worth their salt should not be expensing back their in-app purchases.

As a journalist, it's become clear to me that in order to have an informed opinion on free-to-play games, you have to spend time and money actually playing them.

Indeed, one of my most important conclusions from p(l)aying Clash of Clans is that any journalist worth their salt should not be expensing back their in-app purchases (or receiving free currency from the developer) as it totally destroys your perception of the value of virtual goods - the key aspect of the F2P business model.

It's also important to play some of these games for long periods of time to see how your motivations to play and pay rise and fall over the months. And, of course, to experience how developers update their games with new content and time-dependent offers to keep their long term audience interested.

So, in that context, will I be deleting Clash of Clans from my iPad?

Not quite. It's going into a new folder called 'Games I Used to Play'. I might dip back into it every so often, but my attention is demanded elsewhere.

The folder marked 'To Play' is now filled to bursting. 


Upgrade breakdown

Walls: 215, of which 89 need 200,000 gold each to upgrade to level 7, while 126 need 500,000 gold each to upgrade to level 8
Cannon: 5, of which 3 need 800,000 gold each to upgrade to level 9, while 2 need 1.6 million gold each to upgrade to level 10
Archer Tower: 5, of which 2 need 720,000 gold each to upgrade to level 8, and 3 need 1.5 million each to upgrade to level 9
Town Hall: 3 million gold required for upgrade to level 9
Army Camp: 4, which need 2.25 million elixir each to upgrade to level 7
Wizard Tower: 2, which need 1.5 million gold each to upgrade to level 8
Mortar: 3, of which 2 need 800,000 gold to upgrade to level 5, while 1 needs 1.6 million gold to upgrade to level 6
Air Defense: 2, which need 1.08 million gold each to upgrade to level 5
Barracks: 4, of which 3 need 1.5 million elixir each to upgrade to level 9, while 1 needs 2 million elixir to upgrade to level 10
Dark Barracks: 2, which need 1.25 million elixir each to upgrade to level 2
Dark Elixir Drill: 1, which needs 1.5 milion elixir to upgrade to level 1
Dark Elixir Storage: 1, which needs 1.8 million elixir to upgrade to level 3
Spell Factory: 1, which need 1.6 million elixir to upgrade to level 4
Laboratory: 1, which need 2.5 million elixir to upgrade to level 7, plus 20.25 million elixir and 10,000 dark elixir required to upgrade units to their next level

plus 6 Elixir Collectors, 6 Elixir Storage units, 6 Gold Mines: and 3 Gold Storage units which currently don't require upgrading.